The Harrison Lineage eight-channel microphone preamplifier provides 8 microphone preamps, each from a different era of Harrison consoles. Each pair of preamps has their own unique character, providing the recording engineer with several options in a compact 1RU box.

The front panel provides inputs for channels 1 and 2 (with selector switches) and controls for each of the 8 mic preamps:

An innovative addition is the "FIX" button on each of the two Trion preamps. The "FIX" button engages a preset gain trim (user-adjustable via a trim pot). The combination of the front-panel input switching and the "FIX" buttons allow you to switch the first two preamps between one use (such as 2 calibrated overhead mics in the studio) and another (such as a vocal chain setup) without having to re-set the input gain in-between.

The rear panel includes 8 microphone preamp inputs and a DB25 connector carrying the 8 line outputs. The unit is constructed with a robust power supply and uses high-quality components that are assembled and tested at Harrison's factory in Nashville, Tennessee, USA.

Little confused about the whole front panel - rear panel channel 1-2 inputs and the whole "FIX" thing. Is the fix button simply fixed gain for either front or rear inputs? and just a simple (yet nice idea) for a quick gain stage switch. OR can you plug in 4 sources (front left right - rear left right) and by pressing the "FIX" button set the fixed gain stage as well as switching the inputs to front panel (or rear only - however its setup to do) like an inline console. ??

looks like a contender for anyone looking for variety in 8 channels either way.

Little confused about the whole front panel - rear panel channel 1-2 inputs and the whole "FIX" thing. Is the fix button simply fixed gain for either front or rear inputs? and just a simple (yet nice idea) for a quick gain stage switch. OR can you plug in 4 sources (front left right - rear left right) and by pressing the "FIX" button set the fixed gain stage as well as switching the inputs to front panel (or rear only - however its setup to do) like an inline console. ??

looks like a contender for anyone looking for variety in 8 channels either way.

I’ll try to clarify…

There are 2 gain pots on the first 2 preamps. One uses the big red knob/s and the other uses the trim pot next to the FIX switch. When you press the FIX switch the preamp uses the trim pot gain setting when the FIX switch is not selected the preamp uses the red knob gain setting. That’s pretty much it. You can have two separate gain settings on the first 2 preamps and switch between them. A possible use for this might be to have two different gain settings for a particular performance and be able to switch between them on the fly. Or if you have a critical chain set up and you know the performer is coming back next week you can use the trim pot to set the gain and leave it there where it won’t get bumped, then you can use the red knob etc. and when the performer comes back hit the FIX switch and the gain is exactly where it was before.

We thought it was pretty cool suggestion from a good friend of mine and we decided to incorporate it.

The front panel inputs simply offer mic or instrument inputs via the front panel (there are also mic xlrs for these on the rear as well). The FRONT 1 and 2 switches select them instead of the rear connector to the corresponding preamp. The INST switch on preamp 1 and 2 changes the impedance for when there is an instrument plugged in the front. This just gives you a some flexibility without having to climb behind and unplug and plug cables etc.

There are 2 gain pots on the first 2 preamps. One uses the big red knob/s and the other uses the trim pot next to the FIX switch. When you press the FIX switch the preamp uses the trim pot gain setting when the FIX switch is not selected the preamp uses the red knob gain setting. That’s pretty much it. You can have two separate gain settings on the first 2 preamps and switch between them. A possible use for this might be to have two different gain settings for a particular performance and be able to switch between them on the fly. Or if you have a critical chain set up and you know the performer is coming back next week you can use the trim pot to set the gain and leave it there where it won’t get bumped, then you can use the red knob etc. and when the performer comes back hit the FIX switch and the gain is exactly where it was before.

We thought it was pretty cool suggestion from a good friend of mine and we decided to incorporate it.

The front panel inputs simply offer mic or instrument inputs via the front panel (there are also mic xlrs for these on the rear as well). The FRONT 1 and 2 switches select them instead of the rear connector to the corresponding preamp. The INST switch on preamp 1 and 2 changes the impedance for when there is an instrument plugged in the front. This just gives you a some flexibility without having to climb behind and unplug and plug cables etc.

We were looking to offer something unique.

Gary ThielmanHarrison Consoles

Thank You Gary,

For the Clarification. Is a pretty cool suggestion indeed and thank you for incorporating it into the unit. Adds a nice little something extra on top of the flexibility 4 different sets of preamp flavours already bring to the table. Many will find a good use for that feature (myself included).

I know nothing about Harrison preamps, can someone give a quick rundown of the differences of these pre's ?

Steve

Ive only ever heard a 70's Harrison amp racked. But my brief experience with that and understanding the progression of electronic circuits ( later in years the goal became less salt and peppered sonics). It would go something alil like this?

So overall, all the four preamps are on the clean side, am i reading it wrong?
Where the 90-00 is the more colored? (due to the fet stage? just guessing)

coloured? maybe not so much, more a little more flavoured than the 80s-90s though. The 70s-80s would probably provide alittle more "bite" due to driving the gain-stages a little harder. Also the 90-00 is electronically balanced on the output. Most of an amps "sound" is the input.. but you can get alittle bit more pepper from the output...

same ballpark, but varying subtletys? especially if they all differ in Impedances. Mics will play a big role on which pair to try first.

coloured? maybe not so much, more a little more flavoured than the 80s-90s though. The 70s-80s would probably provide alittle more "bite" due to driving the gain-stages a little harder. Also the 90-00 is electronically balanced on the output. Most of an amps "sound" is the input.. but you can get alittle bit more pepper from the output...

same ballpark, but varying subtletys? especially if they all differ in Impedances. Mics will play a big role on which pair to try first.

Yes, the input impedances are different. The "Trion" preamps are relatively low impedance because of the transformer on the front end. The 70-80s are relatively high impedance, and the other 4 are more "typical".

Yes, the input impedances are different. The "Trion" preamps are relatively low impedance because of the transformer on the front end. The 70-80s are relatively high impedance, and the other 4 are more "typical".

We will publish a spec sheet shortly with all the details.

Best,
-Ben

Thanks Ben,

is a good thing me thinks.. opens up the sonic experimentation window even further. Lots of goodies about the unit. Gratz.

This provides the input impedance of each preamp pair along with other good information.

We are having a busy month shipping consoles ( a big MPC4-D film console for SoundFirm in Australia, and 3 Trion Live consoles for YonSei church in South Korea ). This delayed the first big production run of the Lineage units slightly, but they are being assembled at our factory now. I will post here when these are shipping to our dealers!

We will be at AES booth #748 with Mixbus, the Lineage Mic Preamp, and the 950m console. Come by to see us!